Pierre Jodlowski was born in Toulouse (France) in 1971. After studying composition at the Conservatoire of Lyon and IRCAM, Pierre Jodlowski founded the collective éOle and festival Novelum in Toulouse. His work as a composer led him to perform in France and abroad in many places connected with contemporary music.
Jodlowski’s works have appeared in cultural centres connected with dance, theatre, visual arts and electronic music. His work unfolds today in many areas. In addition to creating his own musical path the artist deals with and the outskirts of her musical universe, he worked on image, music programming, directing and above all searching for answers to the question of how dynamic relations function in for interactive programming facilities, staging and seeks above all to question the relationship dynamic performance spaces. He treats music as an “active” art, with the ability to strongly influence the physical dimension (through energy, gesture and space) as well as the psychological dimension (through association, stimulating memory and imagination). Besides composing music, Jodlowski also performs on stage, solo or with other artists.
In his projects, he has collaborated with ensembles Intercontemporain Ictus – Belgium, KNM – Berlin, the Ensemble Orchestral Contemporain, the new Ensemble Moderne – Montreal, Ars Nova – Sweden, Proxima Centauri. He also conducts collaborations with musicians such as preferred Jean Geoffroy – drums, Cedric Jullion – flute, Wilhelm Latchoumia – piano, Jeremy Siot – violin for works and research on new instruments capacities. He recently produced a trio with Roland Auzet (drums) and Michel Portal (clarinet). His work led him to develop collaborations with visual artists, in particular, Vincent Meyer, David and Alain Coste Josseau. He also works with the stage designer Christophe Bergon on several projects at the intersection of theatre, installation, concert or oratorio.
His works are partly published by Editions Jobert and are the subject of several publications and video recordings.
He has worked with IRCAM, L’Ensemble Intercontemporain, the Ministry of Culture, CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM of GRAME, the Siemens Foundation, the European project INTEGRA. He is the winner of several international competitions. In 2002 he won the Prix Claude Arrieu SACEM and was the resident artist at the Academy of the Arts in 2003 and 2004. His works and performances are broadcast in key places devoted to contemporary sound arts in France, Europe, Canada, China, Japan, Taiwan and the United States.
Pierre Jodlowski about his music and inspiration:
- There is a kind of paradox between the extreme freedom of creating music, which by nature is unlimited and the ways music is performed, which is mostly very conventional and is not free from traditional ties. Whereas in theatre and dance we see a vivid explosion of forms and liberation from conventions, music is still burdened with a certain method of conduct and cannot make the crucial step forward into the modern age (modern music is still seen as an elite art, which is too “complex”; It is probably the result of not performing it within a framework or context that could reflect this modernity properly).
- I started working on images after I became familiar with electronic tools and stage scenery and once I noticed the importance of the relation to the stage. “The sensitivity” these tools bring should stir the curiosity of performers who need to “learn” how to play anew in other environments. Only the instrumental gesture is more important for me! I was born at the time when PC use was becoming wide-spread – soon multimedia tools rapidly settled into our world for good. It is as simple as that – I need these tools in my creative work, since they are necessary for my world of imagination. When I begin a project I rarely start from working on music parameters; rather I start from texts, drafts and images, which I then combine with energy carriers. I also care about the form which is considerably inspired by cinema. My music tries to “meet” with something and for that to happen the musician needs to be pulled out of his lonely score.
- Before a sound, figure or a musical phrase is created there is always a unique moment which preludesthe music act: the initial gesture. Without this breath, taking the bow in one’s hand or closing your eyes before starting to play, for me no music exists. I used to attach great significance to such introduction to playing… to the initial silence, where the gesture is created. Music is only a system of synchronized or asynchronized gestures, which carries with it that which the composer intends to create: energy and direction of time. When I create a rhythm, I play it constantly whenever I can, by tapping my fingers on the table, as if wanting to confirm the engagement of my whole body in the significance of the rhythm with my gestures.
- When I play by myself, especially while performing solo, I feel enriched, in particular when it comes to fluency in playing. Today’s music often places unimaginable challenges for musicians; therefore, the music composed is sometimes not that pleasant to listen to. Composing a piece that is nearly a masterpiece and has an adequate tempo and tension is only a mind exercise (at least as far as I am concerned); by playing on stage I can confront my mind experience (composing) with live and delicate practice (playing the piece).
- Combining electronic sounds or video with instruments is quite natural for me. I haven’t composed many strictly instrumental pieces. My mental music space is filled with electronic sounds, energy, off-stage voices and the surrounding sounds that describe our world. I believe I create music that is quite engaged, meaning it is based on images raising questions about society. With such assumptions you just have to use electronic sounds and images because they serve that purpose. Besides, I’m keen on electro sound. I believe you can use it in an extremely interesting way during concerts.
- I practiced playing the saxophone (alto) for many years back during my studies. As I was interested in repertoire and the world of saxophone I started to go through numerous modern scores and I discovered jazz, and in particular John Coltrane (who at the end of his life composed music expressing freedom). I love the power of this instrument and its easy ability to contrast with drums (which is always present in my music).